Savannah courier. (Savannah, Tenn.) 1885-1979, 1887-01-27

cry, which sounds something ike hal
loo heard from across river. The
actor walks slowly over this gangway,
stops in the center of 1T, turns toward
the audience and strikes an attitude
which is the signal for reception and
applause. After that he proceeds to-
wards the stage. The applause in
Japanese theater is very different from
that given in ours. The audience, in
applauding, call out the family name of
the actor or the word 81 jaska," mean
ing fine actor. They also cry "rion
senrio," or 'manrio," which is thou
sand, ten or hundred thousand fold and
refers to the monetary value of the
artist in ''yen" of Japenese dollars.
The actors make no acknowledgement
of this applause, and a curtain call is
unknown. Actors, as class, are very
highly respected, and often receive
very valuable presents from admirers,
especially from ladies. These tokens of
esteem are always sent to the home of
the actor, and are never handed over
the footlights as with us when we give
flowers. The programme usually con-
sists of several pieces, comedies,
ancient and modern dramas, and some
times dances in which actors are edu-
Gated.
This dancing must be often seen to
be appreciated. 1t consists of strange
but graceful movements Of the head,
arms, legs and body and of stamping
with the feet. 1t is somewhat like the
dancing of the Indian Bayaderes, but is
slower in movement. No females are
allowed to perform in male companies.
Men are skilfully trained from boyhood
to impersonate women, and they bring
this art to the highest state of perfection
in speech, manners and gestures.
Actors who play female parts never as
sumo male characters, even in daily life
they speak like women, either
through force of habit or for fear
of in;uring their falsetto voices.
| was told, although l can not vouch
for the truth of it, that about century
ago, when men and women performed
on the same stage, several murders
were committed among the actors
through jealousy. To prevent this the
Government forbade the acting of men
and women in the same company.
There are few companies, the mem.
bers of which are all females, and in
which some of the women personate
men very cleverly. l saw only once a
company of this kind in minor thea
ter in Yokohama do not believe that
they ever play in the larger theaters.
The wardrobe is furnished by the man
agement of theater, although the
leading actors possess large stock Of
theatrical apparel. These costumes arc
most magnificent and cost proportion
ately. The hair-dresser has a shop in
the theater, and or, at care is taken o1
the wigs, which are dressed anew fol
every performance.
A kind of flesh-colored paste is useC
which makes it impossible for person
even while standing quite near an actor
! to see where the wig ends and the fore
head begins. 1t does not melt, is no
greasy, gives in to all movements o
the seal p and is far superior to our wig
paste. Each artist has dressing-roon
to himself, and dresser who acts alst
/ as prompter. These prompters dc
not stand in the wings, but follow thu
actor on the stage and crouch behint
him with book in hand, to whisper tn,
, lines to him. They are dressed in blacl
gowns and hoods, and are called "shad
| ows." They are supposed not to b,
seen by the audience. 1t is an ode
: sight to see three or four actors upoI
, the stage, each with his own prompte
( behind him. As soon, however, as
. player becomes perfectly familiar witt
3 his lines he goes on alone. The actor
, suffer much from stage fright. Ever,
theater has large bathroom attaches
' to it, provided with plenty of hot an,
! cold water, as all the actors take bait
after the performance and sometime
r during an intermission.
, Actors in Japan are a hereditar,
3 class. The art of acting is taught b
4 the father to the son. II he has no son
; the nearest male relative is taken in hi
place Sometimes tho son of brothe
= actor is also taken. The foreiathcrs c
y Ichikawah Danjuro, the first actor G
: Japan, have held this high position fo
n several generations. Japanese actor
receive good salaries, but have each t
l furnish from one to six pupils, VIII
4 take the, place of our supernumel
: aries, the leading actors providin
more than the minor ones, th
! number furnished depending on tn
# standing of the actor and the amour
q of his salary. These pupils receiy
Il their pay from the actors, and al
% taught BY them the art of acting
q dancing, fencing and tumbling. Th
tumbling is introduced in fights galway
n one actor against number of pupils
n which are features of Japanese pc
n formance always appreciated by ii
Is audience. These pupils are gradual
,e entrusted with small parts. Ii tslente
r. they can rise in their profession and
70 their turn become actors of mark.
a The Japanese scale of music has on
m five notes, and all the music is write
Of in the minor key. The orchestra is il
st creased during the dances. For come6
It the orchestra is seldom used. excep
d for instance, to burlesque dramas, whiC
\. is often done. For dramas the orche
at ira is invisible. The musicians are hi
10 den behind lattice work on the rig
r hand side of the stage drom the actors
is and are from three to eight in numb
lr according to the size of the theate
is Their instruments are samusens Ian. i
70 strument something like a guitar with
e. short body, long neck and thr
80 strings). harps, flutes, large and sms
N drums. conps and bells. The orchest
ly plays during the entrances and exits
re the actors and also in the following j
nt stance: With us an actor speaks /
al speeches aloud; the Japanese EXPIRE
in them by psntomimic gestures, while |
a Invisible singer sings them, accompa
he led by the orchestra Ii is the leadir
lis samusen plsyer-best to be compar